- 1 1  I 


:  ■  : 

■  H 


■ 


■ 
■ 


Digitized  by  the  Internet  Archive 
in  2013 


http://archive.org/details/instructionsinarOOvago 


INSTRUCTIONS 


IN  THE  ART  OF 


MODELING  IN  CLAY. 


By  A.  L.  VAGO 


WITH    AN  APPENDIX 


MODELING  FOLIAGE,  ETC. 


By  BENN  PITMAN, 

Of  Cincinnati  School  of  Design. 


CINCINNATI : 

ROBERT  CLARKE  &  CO. 
1880. 


COPYRIGHT. 

ROBERT  CLARKE  &  CO. 
1880. 


CONTENTS. 

PAGE 

Preface,   7 

What  to  Provide  and  how  to  Begin,  .       .  15 

Tools,   17 

The  Face,   22 

Expression  of  Character,   .       .       .       .  24 

Modeling  Stools,  etc.,   26 

How  to  Support  the  Clay  while  Modeling,  27 
How  to  Work  with  Cleanliness  and  without 

Waste,         .......  30 

Light,      .       .       .   31 

Work  before  Details  are  Introduced,       .  32 

Drapery,         .       .       ...       .       .       .  33 

Anatomy,   36 

Proportion,   38 

Disproportion,   40 

(3) 


4  CONTENTS. 

PAGE 

Method  of  Measuring  to  Secure  Correct  Pro- 
portions,         .......  41 

Proportion  in  Children,          ....  43 

Conformableness  of  the  Body  to  the  Head,  45 

Phrenology,  its  Aid  in  Modeling,      ...  49 

To  Cast  Clay  Models  in  Plaster,       .       .  53 


APPENDIX. 

Modeling  Foliage,  etc.,   63 

What  to  Model,   64 

Tools,      .       .       .  .       .       .       .       .  67 

Method  of  Working,   69 

Modeling  on  Plaques  and  Vases,      .       .       .  71 
Modeled  Work  for  Architectural  Decora- 
tion,      .........  72 


PREFACE. 


From  having  been  frequently  asked  for  a  Book  of 
Instructions  in  the  Art  of  Modeling,  and  being 
unaware  of  the  existence  of  any  thing  of  the  kind, 
I  have  presumed  to  furnish  the  information  con- 
tained in  the  following  pages,  as  being  likely  to 
supply  what  appears  to  me  to  be  an  increasing 
want,  now  that  the  world  is  growing  wise  enough 
to  appreciate  the  fact  that  the  mind  is  improved 
and  refined  by  the  classical  turn  which  it  receives 
from  being  engaged  in  such  an  art.  To  this  may 
be  added  the  advantage  arising  from  the  fact,  that 
by  thus  employing  our  leisure  time,  many  of  us 
are  weaned  from  such  courses  as  tend  to  lighten 
the  pocket  and  impair  the  health.  It  should  be 
known,  too,  that,  by  practicing  in  the  arts  of  either 
drawing,  painting,  or  modeling,  merely  as  a  sort 
of  pastime,   many   of  the    intellectual  faculties 

(7) 


8 


PREFACE. 


acquire  an  acuteness  which  can  not  fail  to  be  of 
advantage  in  every  pursuit,  whether  of  a  literary, 
commercial,  or  mechanical  character. 

In  thus  undertaking  to  give  instructions  in  the 
art  of  modeling,  namely,  by  means  of  a  book,  I 
feel  that  I  have  engaged  myself  to  a  task  by  no 
means  easy  to  accomplish.  I  may  say  here  what 
at  the  same  time  will  be  well  for  the  pupil  to 
know,  that  one  practical  lesson  in  an  artist's  studio 
is  more  useful  to  the  learner  than  a  dozen  books 
full  of  theory.  It  is  easy  enough  to  read  in  a 
book  that  a  mountain  can  be  removed  by  shovel- 
fuls, but  to  accomplish  such  a  thing  practically  re- 
quires much  steady  and  untiring  perseverance. 

I  do  not  know  that  it  is  different  in  other  arts, 
but  in  modeling  the  pupil  will  find  that  he  will 
not  become  master  of  the  art  merely  by  looking 
to  see  what  the  book  says.  By  attending  to  what 
is  herein  advised,  the  pupil  will  learn  how  to  set 
to  work,  which  is  somewhat  desirable  to  know,  as 
from  setting  out  without  any  previous  knowledge, 
the  wrong  way  is  mostly  adopted,  and  the  diffi- 
culty arising  therefrom  is  apt  to  tire,  and  disgust, 
and  to  discourage  from  any  further  attempt  after 


PREFACE.  9 

the  first  failure.  It  is  probably  owing  to  this  that 
the  false  notion  is  generally  accepted,  that  "artists 
must  be  born  ;  "  and  as  such  an  error  is  apt,  in 
some  cases,  to  deter  many  from  making  trial  of 
their  abilities,  such  a  fallacy  should  be  quashed. 
With  this  object  in  view,  I  venture  to  say  that  no 
one  can  boast  of  a  proficiency  in  any  art  that  was 
not  acquired  by  long  and  patient  application.  So 
much,  then,  for  "  born  artists."  It  is  certainly 
true  that  some  persons  are  naturally  of  weaker  per- 
ception than  others  ;  for,  while  some  persons  can 
form  a  very  correct  estimate  of  dimensions  and 
proportions  by  the  eye  alone,  others  dare  not  trust 
themselves  without  rule  or  measure.  But  even 
those  of  weak  perception  should  not  be  deterred 
trying  their  hand  at  modeling  on  that  account;  in 
fact,  I  would  recommend  persons  to  engage  in  the 
art  for  that  very  reason,  since  nothing  could  serve 
better  to  develop  the  perception  and  correct  the 
judgment.  Hence  the  advantage  of  the  c<  Kinder- 
garten "  system  of  teaching  children,  wherein  mod- 
eling is  included,  by  which  knowledge  is  imparted 
not  only  through  the  ear,  but  also  through  the  eye, 
and  even  the  finger-ends. 


IO 


PREFACE. 


Those  who  feel  diffident  about  producing  any 
thing  worth  while  the  trying,  may  take  courage 
from  the  distorted  forms  that  fill  the  market  in 
Parian  ware.  It  should  be  known  that  all  produc- 
tions in  Parian  ware  shrink  about  one-fifth  in  the 
"firing,"  and  previous  to  undergoing  this  process 
many  of  them  warp,  and  what  were  intended  to 
represent  classical  subjects  often  assume  very  gro- 
tesque shapes.  Hence  the  preference,  with  a  cor- 
rect taste,  for  plaster  casts  to  Parian  ware. 

In  modeling,  it  is  not  always  those  who  start 
with  the  best  judgment  that  become  the  most  suc- 
cessful in  the  art;  for  often  when  the  eye  is  in  ad- 
vance of  the  hand,  the  ''attempt,"  though  even 
good  for  the  "start,"  not  being  equal  to  what  is 
desired,  the  tools  are  cast  aside,  and  the  matter 
ended.  Those  void  of  such  qualifications  as  con- 
stitute the  connoisseur  are  often  charmed  by  the 
first  effort,  and  thereby  encouraged  to  go  on  again 
and  improve  as  they  go.  It  was  my  own  ex- 
perience to  be  so  delighted  with  my  first  attempt 
that  I  thought  there  was  nothing  equal  to  it  in  this 
world;  in  fact,  I  prized  it  so  much  that,  as  the 
phrase  goes,  I  "wrapped  it  up  in  lavender,"  that 


PREFACE. 


is,  I  stowed  it  carefully  away.  I  went  on  dab- 
bling occasionally  in  the  clay,  and  forgot  all  about 
my  original  model.  Some  long  time  afterward, 
while  searching  for  something  else,  I  came  across 
a  package,  and,  being  curious  to  know  what  it  con- 
tained, I  opened  it,  and  beheld  my  much  treasured 
model  with  a  feeling  of  disgust,  then  as  strong  as 
my  delight  was  great  at  the  first.  It  was,  of 
course,  "  disposed  of  under  the  hammer;"  and 
this  I  acknowledge  without  shame,  knowing,  as  I 
do,  that  the  works  of  even  great  masters  have 
sometimes  been  similarly  subjected. 

I  feel  thankful,  however,  that,  as  an  amateur,  I 
was  not  too  wise  for  myself,  as,  like  some  critics 
whose  knowledge  is  not  founded  upon  experience, 
I  might  have  known  wonders  and  have  remained 
too  clumsy  to  snuff  a  candle  without  putting  out 
the  light. 

I  feel  greatly  inclined  to  believe  that  every 
teacher  of  music  has  experienced  much  the  same 
thing  with  regard  to  the  musical  faculty,  namely, 
that  those  pupils  having  a  quick  ear  for  music  are 
most  reluctant  to  go  through  the  ordeal  of  learn- 
ing to  perform  on  an  instrument,  because  they  can 


12 


PREFACE. 


not  endure  the  jarring  sounds  which  frequently 
occur  from  mistakes  while  practicing ;  whereas, 
those  less  sensitive  in  this  respect  go  through  their 
exercises  more  willingly,  and  become  proficient 
soonest.  From  these  instances,  it  will  be  seen 
that  any  scruple  arising  from  fear  of  failure  should 
be  abandoned  ;  while  the  idea  of  "  born  artists  " 
must  appear  as  ridiculous  as  that  of  born  washer- 
women. 

In  the  preceding  and  what  is  to  follow,  I  ht>pe 
that  I  shall  not  be  found  guilty  of  having  tres- 
passed upon  territory  belonging  exclusively  to  that 
class  represented  by  Messrs.  Moore  and  Burgess, 
who  may  with  impunity  propose  as  facts  worthy 
the  serious  consideration  of  the  Darwinite — that 
pigs  lay  eggs  and  that  sausages  grow  on  trees. 

That  the  object  of  this  preliminary  be  not 
missed,  I  may  add  in  concluding  it  that  patience 
and  perseverance  will  do  much  to  develop,  where 
latent,  those  faculties  so  necessary  to  the  proper 
comprehension  of  such  subjects  as  engage  us  in 
the  affairs  of  daily  life.  Although,  as  a  fact,  no 
kind  of  training  will  produce  faculties,  yet,  on  this 
account,  we  may  not  claim   the  excuse  of  being 


PREFACE.  13 

deficient,  for,  excepting  in  cases  of  idiocy,  it  is  as 
unusual  for  a  person  to  lack  any  one  of  the 
natural  faculties  as  it  is  to  see  a  face  without  a 
nose.  The  prospect,  therefore,  is  clear  to  all  who 
may  wish  to  improve  themselves,  as  far  as  it  is 
possible  to  do  so,  by  engaging  in  modeling,  while 
success  in  the  art  will  be  in  proportion  to  the 
diligence  of  the  pupil. 

A.  L.  Vago. 


INSTRUCTIONS  IN  THE  ART  OF  MOD- 
ELING IN  CLAY. 


WHAT   TO    PROVIDE   AND   HOW   TO  BEGIN. 

Clay  is  the  material  generally  used  in  modeling. 
That  of  the  lightest  color  is  preferable,  as  dark 
clay  obscures  the  shadows  by  which  form  is,  to  a 
certain  extent,  rendered  distinguishable.  If  the 
clay  be  dry  and  hard  when  procured,  it  should  be 
broken  into  small  pieces  and  sprinkled  with  clean 
water.  It  should  then  be  left  to  soak  and  occa- 
sionally stirred  about,  so  that  it  be  moistened 
evenly  throughout.  It  is  possible  to  have  the 
clay  too  stiff,  as  also  too  wet,  to  work  it  easily. 
When  too  dry  or  stiff  add  a  little  more  water, 
and  if  too  flabby  and  wet  add  a  little  dry  clay, 
finely  powdered.  It  should  then  be  well  kneaded  ; 
this  should  be  done  by  the  person  who  is  going 
to  use  the  clay,  as  thereby  the  hands  will  become 

d5) 


INSTRUCTIONS  IN  THE  ART  OF 


used  to  its  nature,  and  the  ability  to  manipulate  it 
facilitated. 

It  is  advisable  to  begin  not  on  too  large  nor  on 
too  small  a  scale,  nor  on  any  difficult  or  intricate 
subject ;  neither  should  the  novice  attempt  to 
model  any  thing  "  out  of  his  own  head."  Some 
common  object  should  be  chosen  to  copy  from  ; 
say  an  old  boot,  to  begin  with,  as  this  may  be 
started  on  a  flat  piece  of  wood,  and  will  not  need 
interior  props  to  support  the  clay:  although  a  peg 
driven  into  the  flat  board  will  prevent  the  clay 
from  slipping  off. 

In  beginning  to  model  do  not  squeeze  the  clay 
into  form  in  the  hands,  but  lay  it  on  the  flat  board, 
and  gradually  build  it  up  until  it  assumes  the  form 
of  the  object  being  copied.  Before  introducing 
any  detail  see  that  the  proportions  are  tolerably 
correct.  It  is  of  the  greatest  importance  to  attend 
to  the  contour  previous  to  putting  in  the  finishing 
strokes,  as  where  it  is  attempted  to  finish  from  the 
beginning  it  is  likely  to  be  found,  on  making  a 
general  survey,  that  the  work  on  the  w7hole  is  out 
of  proportion.  To  correct  work  that  has  been 
once  finished  frequently  necessitates  much  remod- 


MODELING  IN  CLAY.  I J 

eling,  unless  the  alteration  can  be  effected  by  cut- 
ting out  or  letting  in  a  wedge  of  clay,  as  the  case 
may  need. 

TOOLS. 


With  regard  to  tools,  much  may  be  accomplished 
with  the  fingers,  although  there  are  three  kinds  in 


particular  without  which  the  progress  of  the  pupil 
can  not  but  be  slow.  These  are  represented  in  the 
annexed  cuts.  That  numbered  (i)  is  used  for 
roughing  out,  (2)  for  reducing  and  making  grooves, 
and  (3)  forgiving  the  finishing  touches.  With  this 
tool  numbered  3,  the  small  end  of  which  resem- 
bles the  bowl  of  a  spoon,  more  work  may  be  done 
in  one  hour,  and  with  better  effect,  than  could  be 
accomplished  in  three  hours  with  a  tool  of  any 
other  shape. 


i8 


INSTRUCTIONS  IN  THE  ART  OF 


The  old  boot,  when  attempted,  will  enable  the 
pupil  to  understand  better  how  to  use  these  tools 
than  words  can  inform.  The  tendency  of  the  clay 
to  slip  or  shift  from  its  base  will  suggest  the  ne- 
cessity of  inserting  pegs,  by  means  of  which  the 
clay  may  be  secured  to  the  board.  When  the  work 
is  left  unfinished,  it  should  be  carefully  wrapped 
around  with  wet  cloths,  for  when  left  not  thus  cov- 
ered up,  the  clay  is  apt  to  get  dry  and  inflexible. 
When  this  should  happen,  an  occasional  sprink- 
ling with  water  will  restore  its  pliancy — a  brush 
will  serve  best  for  this  purpose.  A  glass  shade 
placed  over  the  model  so  as  to  exclude  the  air  an- 
swers better  to  keep  the  clay  moist  than  wet  cloths. 
When  the  model  is  too  large  for  a  shade,  a  piece 
of  oiled  cloth  laid  over  it  may  answer  to  prevent 
its  moisture  from  evaporating. 

The  old  boot,  or  whatever  other  object  may  be 
chosen,  is  intended  to  give  the  "prentice  han' " 
something  of  dexterity  in  managing  the  clay,  rather 
than  for  producing  something  for  its  sake.  Al- 
though there  may  be  no  desire  to  set  any  great 
store  by  the  first  production,  yet  it  is  advisable  to 
bestow  as  much  care  and  attention  upon  it  as  if  it 


MODELING  IN  CLAY.  1 9 

were  intended  to  be  sent  to  the  Royal  Academy 
for  exhibition  ;  for  the  more  proficient  the  hand  is 
made  by  the  first  piece  of  work,  the  greater  will  be 
the  ease  of  accomplishing  the  second. 
.  When  the  model  is  finished,  it  will  be  well  to 
invite  a  friend  or  several  friends  to  inspect  it,  as 
defects  are  thus  often  detected  which  have  been 
overlooked  by  the  person  engaged  on  the  work. 
A  person  need  not  be  a  Royal  Academician  to  be 
able  sometimes  to  make  suggestions  which  may  be 
of  advantage  to  the  artist.  A  painter,  while  en- 
gaged on  some  pigs  at  a  farm-house,  was  told  by 
the  crow-boy  that  "the  picter  is  n't  nat'ral,  for  I 
never  see'd  three  pigs  feeding  together  without  one 
at  least  of  them  had  his  foot  in  the  trough." 
When  a  fault  is  pointed  out  in  this  manner,  and  it 
appears  evident  to  the  artist,  it  is  advisable  to  cor- 
rect it.  A  little  discretion  should  be  used,  how- 
ever, even  with  regard  to  the  criticisms  of  our 
friends,  as  otherwise  we  may  fare  the  fate  of  the 
man  who  led  the  donkey,  then  rode  the  donkey, 
next  carried  the  donkey,  and  got  laughed  at  in  the 
end,  all  from  following  the  advice  of  several  kindly 
disposed  persons. 


20 


INSTRUCTIONS  IN  THE  ART  OF 


Should  the  old  boot  be  adopted  as  a  copy  to 
work  from,  it  should  be  filled  with  paper  or  what- 
ever else  may  serve  to  fix  its  shape,  for  if  this  gets 
altered  after  the  model  is  begun,  it  will  give  the 
trouble  of  altering  the  model  to  the  last  shape. 
On  this  account  there  is  a  disadvantage  in  working 
from  a  flexible  copy,  though  in  some  cases  it  might 
be  considered  convenient  on  the  same  account, 
since  it  admits  of  being  twisted  to  suit  the  model 
where  it  is  wished  to  avoid  the  trouble  of  working 
the  model  up  to  the  original  shape  of  the  copy. 
The  moral  to  this  kind  of  deception  is,  that  the 
cheat  alone  gets  cheated.  The  business  of  the  pu- 
pil is  to  reproduce  his  copy  faithfully,  and  not  to 
cheat  himself  out  of  that  practice  intended  to  ad- 
vance him  to  a  class  which  should  be  above  such 
chicanery. 

Having  faithfully  executed  his  initiatory  model, 
the  pupil  will  have  learned  how  to  work  the  clay 
and  how  to  ply  the  tools.  The  next  object 
chosen  should  still  be  neither  too  large  nor  too 
small,  and  the  copy  should  be  done  nearly  as 
possible  the  same  size  as  the  object  being  copied. 
This  will  admit  of  testing  the  proportions  by 


MODELING  IN  CLAY. 


21 


means  of  calipers  or  compasses.  It  is  better  to 
work  without  using  these  until  after  the  building 
up  and  roughing  out  is  done,  purposely  to  quicken 
the  judgment  with  regard  to  dimensions  and  pro- 
portions, and  then  to  correct  by  measuring  before 
finishing  off.  It  will  be  easy  to  take  from  where 
there  is  too  much,  and  to  add  where  necessary. 

At  this  stage  I  would  recommend  a  plaster 
cast  of  the  mouth  for  the  next  study.  This 
should  be  worked  upon  until  it  is  accurately 
copied,  even  if  it  should  take  one  hour's  work- 
ing daily  for  one  month.  Then  a  cast  of  the 
eye  should  be  copied  ;  after  which  a  cast  of  the 
ear.  Those  of  classical  shape  are  preferable..  It 
is  advisable  not  to  go  from  one  to  the  other  until 
the  first  has  been  well  copied. 

The  pupil  may  now  choose  such  subjects  as  may 
be  most  agreeable  to  the  inclination.  If  there  be 
a  preference  for  architectural  modeling,  a  boss, 
not  too  elaborate,  will  make  a  good  subject  to  start 
with.  In  the  same  way  of  basso-relievo,  or  model- 
ing in  low  relief.  But  this  branch  of  the  art,  in 
some  cases,  conjoins  that  of  the  painter,  wherein  it 
is  necessary  to  observe  the  rules  of  perspective, 


22 


INSTRUCTIONS  IN  THE  ART  OF 


where  figures  in  the  foreground  are  represented 
larger  than  those  which  appear  in  the  distance. 

I  do  not  know  whether  any  rule  is  recognized 
among  painters  which  may  direct  the  pupil  with  re- 
gard to  perspective  other  than  that  of  watching  his 
work  at  such  distance  as  it  is  intended  to  be  viewed 
from  by  the  spectator,  where  the  eye  affords  the 
only  guide.  This  method  of  reviewing  the  work 
at  a  distance  may  be  employed  with  advantage  in 
every  instance,  during  the  roughing  out,  as  there- 
by the  general  effect  is  brought  under  notice,  which 
is  of  much  more  importance  than  fine  finish. 

THE  FACE. 

If  the  desire  be  to  excel  in  modeling  busts,  the 
next  best  study  is  a  cast  of  the  face  of  the  Venus 
di  Milo  (Fig.  4):  copies  of  this  can  be  easily  ob- 
tained. This  will  be  quite  sufficient  to  test  the  pa- 
tience of  the  pupil ;  for  in  this  study  is  some  hair 
which  should  be  copied,  first  the  mass,  and  then  the 
minutiae.  The  hair,  which  might  be  considered  but 
as  a  minor  point,  will,  in  practice,  be  found  most 
difficult  to  treat ;  but  by  diligence  it  may  be  mas- 
tered.   The  mask  of  St.  Jerome,  by  Michael  An- 


MODELING  IN  CLAY. 


23 


gelo,  is  the  next  best  study.  In  this  cast  the  beard 
is  represented  in  masses,  and  not  by  fine  lines. 
Where  it  is  possible,  it  is  better  to  represent  hair 
by  masses  or  tufts,  than  by  lines,  which  give  a 
harsh  or  hard  effect,  rather  than  that  of  wavy  soft- 
ness (Fig.  5). 


Fig-  5- 


Fig.  4. 


MASK,  VENUS  DI  MILO. 


MASK,   ST,  JEROME    BY  MICH- 
AEL ANGELO. 


It  is  of  the  greatest  importance  to  copy  cor- 
rectly the  contour  and  inequalities  of  the  head,  at 
least  equally  so  as  those  of  the  face.  Where  the 
head  is  represented  short  in  proportion  to  the  face, 


24  INSTRUCTIONS  IN  THE  ART  OF 

the  bust  is  apt  to  be  regarded  as  that  of  a  male- 
factor. In  the  illustrations  which  frequently  ap- 
pear in  Punchy  malign  characters  are  represented  as 
such  with  more  force  by  a  shortness  of  the  head. 
It  is  not  necessary  to  believe  in  the  principles  of 
phrenology,  but  an  observance  of  them  in  model- 
ing busts  will  materially  assist  the  artist.  The 
geography  of  the  head,  as  furnished  by  the  phreno- 
logical divisions,  supplies  landmarks  whereby  the 
ground  can  be  reconnoitered  with  precision. 

EXPRESSION   OF  CHARACTER. 

It  may  be  taken  for  what  it  is  worth  ;  but  if  the 
pupil  can  not  appreciate  the  fact  that  the  head  and 
face  are  indicative  of  character,  he  will  be  insensi- 
ble to  the  chief  charm  in  modeling  busts,  and  he 
had  better  turn  at  once  to  still  life,  where  it  is  not 
attempted  to  make  u  art  stand  substitute  for  na- 
ture," by  giving  to  the  clay  a  living  form,  that  is, 
an  expression  of  life  and  character.* 

French  artists,  who  do  not  hesitate  to  recog- 

*  The  pupil  will  derive  much  advantage  from  a  careful 
study  of  such  works  as  Lavater's  "Physiognomy"  and 
Bell's  "Anatomy  of  Expression." 


MODELING  IN  CLAY.  25 

nize  physiognomy,  excel  on  that  account  in  the  art 
of  portraying  character  in  their  busts.  By  certain 
strokes  they  can  heighten  those  qualities  for  which 
the  character  is  noted.  This  art  can  not  be  con- 
veyed in  writing,  it  can  be  acquired  only  by  attend- 
ing to  physiognomic  indications  while  we  are  en- 
gaged in  the  clay.  A  little  experimenting  with  this 
object  in  view  will  be  advantageous. 

That  the  pupil  may  not  adopt  half  measures  by 
neglecting  to  attend  to  the  shape  of  the  head,  un- 
der the  impression  that  the  face  alone  will  answer 
the  purpose  of  indicating  character,  I  will  here 
quote  Lavater,  that  the  importance  of  attending  to 
the  shape  of  the  head  may  have  more  weight  from 
being  supported  by  an  authority  so  pre-eminent. 
In  his  universally  popular  work  on  u  Physiog- 
nomy," Lavater  says,  <c  I  pay  more  attention  to  the 
form  and  arching  of  the  skull,  as  far  as  I  am  ac- 
quainted with  it,  than  any  of  my  predecessors,  and 
that  I  have  considered  this  most  firm  and  least 
changeable,  and  far  best  defined  part  of  the  human 
body  as  the  foundation  of  physiognomy. " 

Having  about  me  busts,  executed  by  the  first 
masters,  of  poets,  composers,  philosophers,  states- 


26 


INSTRUCTIONS  IN  THE  ART  OF 


men,  and  generals,  I  find,  from  the  biographies  I 
have  read  of  them,  that  the  form  of  the  head  cor- 
responds phrenologically  in  every  particular  to  their 
known  characteristics  ;  and  that  marked  proclivi- 
ties are  invariably  accompanied  by  particular  im- 
pressions upon  the  head. 

Such  then  being  my  own  experience,  I  can  not 
but  think  that  a  knowledge  of  phrenology  must 
be  of  advantage  to  those  engaged  in  either  painting 
or  modeling  portraits. 

MODELING   STOOLS,  ETC. 

At  starting  to  model  a  bust  in  the  absence  of 
a  modeling  stool,  some  boxes  should  be  arranged 
one  upon  another  to  such  a  height  3$  to  bring 
the  work  within  easy  access  of  the  operator,  so  as 
to  prevent  stooping  or  overreaching.  The  boxes 
in  which  groceries  are  packed  can  be  obtained 
of  any  family  grocer.  These  are  strong  and 
most  suitable  for  the  purpose.  The  next  requisite 
is  a  turn-table.  This  is  made  by  two  pieces  of 
board  about  a  foot  or  more  square,  to  suit  the 
size  of  the  work,  being  placed  one  upon  the  other, 
the  top  piece  to  turn  upon  a  pivot  fixed  in  the 


MODELING  IN  CLAY. 


27 


bottom  piece.  Six  small  sash  rollers  fixed  equi- 
distant in  a  circle  under  the  upper  piece  will 
prevent  the  board  becoming  unmovable  from  the 
weight  of  the  clay.  The  dampness  of  the  clay 
will  be  apt  to  cause  the  turn-table  to  warp.  This 
may  be  prevented  by  screwing  two  flat  pieces 
together,  with  the  way  of  the  grain  in  the  one 
piece  going  crosswise  that  of  the  other.  The 
turn-table  is  then  placed  xupo;i  the  boxes  or  stool, 
and  upon  this  comes  the  flat  piece  of  wood  or 
board  with  a  prop  fixed  to  the  center  in  a  perpen- 
dicular direction. 

HOW  TO   SUPPORT    THE    CLAY   WHILE  MODELING. 

On  the  board  and  about  the  prop,  the  clay  is 
then  laid  and  worked  up  into  a  bust.  This 
prop  going  up  the  center  of  the  bust  is  to  support 
the  head  and  prevent  it  falling  from  its  proper 
position.  The  prop  should  be  about  an  inch 
shorter  in  height  than  the  bust.  If  the  lower 
part  of  the  prop  be  of  wood  and  the  upper  part 
of  composition  pipe,  as  used  by  gas-fitters,  it  will 
admit  of  the  head  being  twisted  or  inclined  in 
such  direction  as  may  improve  the  general  ap- 


28 


INSTRUCTIONS  IN  THE  ART  OF 


pearance  of  the  bust.  The  pipe  should  be  fixed 
to  the  wooden  prop  by  being  bound  round  with 
thin  wire.  If  string  be  used  instead  of  wire  it 
will  give  to  the  clay  an  unpleasant  or  musty 
smell.  Where  the  entire  human  figure  is  being 
modeled  without  drapery  or  what  otherwise  would 
serve  to  support  it,  two  props  are  necessary — one 
for  each  leg.  These  should  be  of  iron,  and  bent, 
before  fixing  to  the  wooden  base,  in  such  direction 
as  to  admit  of  their  coming  within  the  center  of 
the  legs  and  body.  After  the  supports  have 
been  properly  placed  they  should  be  firmly  fixed 
to  the  base  so  as  to  prevent  the  figure  yielding  to 
the  pressure  employed  in  working  on  the  clay. 
Should  any  part  of  the  iron  protrude  as  the  model 
progresses,  it  is  better  to  leave  it  projecting  than 
to  distort  the  model  by  altering  its  form  on  pur- 
pose to  cover  in  such  part,  as  any  prominence 
of  this  kind  in  the  model  may  be  easily  removed 
from  the  plaster  cast.  It  will  make  the  props 
more  firm  by  binding  one  to  the  other  in  the  body 
where  they  should  meet.  One  prop  at  least 
should  go  through  the  whole  length  of  the  figure. 
If  the  arms  are  not  resting  against  the  body,  they 


MODELING  IN  CLAY.  2g 

will  need  supporting  ;  a  piece  of  composition  pipe 
inserted  at  the  shoulders,  and  branching  out  in  the 
direction  the  arms  should  take,  will  best  serve  for 
supporting  the  arms.  Composition  pipe  may  be 
easily  bent,  even  with  the  clay  upon  it,  should 
this  be  necessary  ;  it  will  also  admit  of  being  cut 
through,  which  is  convenient  when  the  arms  have 
to  be  removed  for  the  purpose  of  molding  the 
figure.  This  method  of  supporting  the  limbs  in 
figures  should  be  adopted  when  modeling  in 
alto-relievo  ;  that  is,  in  those  parts  that  would  be 
in  danger  of  falling  off  from  want  of  such  internal 
support.  If  the  figure  be  draped  down  to  the 
ground,  a  single  prop  going  through  the  center  as 
in  a  bust  will  be  sufficient. 

When  animals  are  being  modeled  in  a  standing 
position,  it  is  necessary  to  have  a  prop  in  each 
leg,  each  to  be  previously  bent  to  the  form,  and 
placed  in  the  position  required.  Leaden  pipe  is 
best  for  this  purpose,  as  the  lower  ends  may  be 
easily  flattened,  turned  up,  and  nailed  down  to  the 
board.  As  the  leaden  pipe  is  not  of  itself  suffi- 
ciently tough  to  support  the  body  and  to  resist 
the  pressure  of  working,  a  prop  either  of  iron, 


JO  INSTRUCTIONS  IN  THE  ART  OF 

wood,  or  clay,  should  be  introduced  between  the 
4  stand  and  the  center  of  the  body.  In  the  plaster 
cast  where  iron  rods  are  inserted  in  the  legs,  the 
center  prop  can  then  be  dispensed  with,  and  may 
be  easily  removed.  When  the  center  prop  is  used 
to  uphold  and  fix  the  body,  it  will  not  be  necessary 
to  nail  down  the  leaden  pipe  for  the  legs  to  the 
stand,  and  then,  should  the  position  of  the  legs  be 
not  quite  right,  it  will  be  possible  to  shift  or  re- 
move them. 

HOW   TO    WORK    WITH    CLEANLINESS    AND  WITHOUT 

WASTE. 

The  model  should  not  be  carved  from  a  solid 
block,  but  the  clay  should  be  laid  on  in  pieces  one 
upon  another,  and  beaten  together  into  the  shape 
desired  by  means  of  a  short  stick.  The  tool  for 
roughing  out  is  then  employed  to  remove  the  clay 
from  those  parts  where  there  is  too  much,  and  to 
spread  the  same  where  there  is  insufficient,  after 
the  manner  of  spreading  butter  upon  a  piece  of 
bread.  The  clay  has  a  tendency  to  adhere  to  the 
tools  and  to  accumulate  thereon.  Such  clay  as  is 
found  clinging  to  the  tool  while  working  should 


MODELING  IN  CLAY.  3  I 

be  taken  off  and  applied  to  the  model  where  an 
addition  may  be  needed.  By  this  method  of 
working,  the  clay  will  be  economized  and  saved 
from  falling  and  making  a  mess  on  the  floor. 

LIGHT. 

If  it  is  possible  to  choose  the  place  for  model- 
ing, it  is  better  where  the  light  comes  in  from 
above  than  from  the  side.*  When  only  a  side  light 
can  be  obtained,  it  will  be  necessary,  after  working 
on  one  side,  to  remove  the  model  so  that  the  light 
may  fall  on  the  other  side,  otherwise  the  likeness 
will  be  perceptible  only  under  one  particular  light, 
and  from  only  one  point  of  view.  A  good  por- 
trait should  strike  from  every  aspect.  When 
working  by  gas  or  candle-light,  the  position  where 
the  light  can  come  down  upon  the  front  of  the 
work  is  best.  It  is  most  safe,  where  possible,  to 
vary  the  position  of  the  light  either  by  shifting  the 
light  or  the  position  of  the  model. 

*When  side  light  only  can  be  obtained,  curtain  the  lower 
sash  of  the  window,  so  as  to  let  the  light  come  from  the 
upper  portion  of  the  window. 


3* 


INSTRUCTIONS  IN  THE  ART  OF 


WORK   BEFORE    DETAILS   ARE  INTRODUCED. 

As  previously  advised,  it  is  useless  to  intro- 
duce details  until  the  contour  has  been  completed. 
This  applies  in  every  branch  of  modeling,  and 
particularly  in  busts.  As  in  map-drawing,  if  the 
counties  are  wrong,  the  introduction  of  towns 
and  rivers  will  not  make  them  right.  Before 
introducing  the  mouth  and  eyes,  the  pupil  should 
watch  that  the  head  is  in  proportion  to  the 
shoulders  ;  that  the  width  of  the  head  is  in  pro- 
portion to  its  length.  The  nose  may  then  be 
roughly  indicated  ;  after  this,  the  ears,  whose 
position  at  the  sides  of  the  head  should  be 
determined  from  the  nose,  as  the  position  of  the 
ears  varies  in  different  heads.  In  some  cases  the 
ears  are  situated  farther  back  from  the  face  than 
in  others,  and  sometimes  higher  up  than  in  others. 
The  opening  or  orifice  of  the  ear  is,  in  some 
heads,  in  a  line  with  the  lower  part  of  the  nose  ; 
in  others,  it  is  as  high  up  as  the  eyes.  The  place 
of  the  mouth  should  be  judged  of  from  the  nose, 
and  indicated  near  to  or  distant  from  the  nose, 
according  to  the  length  of  the  upper  lip.  The 


MODELING  IN  CLAY.  33 

eyes,  too,  in  some  heads,  are  set  nearer  to  the 
nose  than  in  others,  and  sometimes  more  deeply. 
These  differences  should  not  be  overlooked  by 
the  pupil  who  wishes  to  engage  successfully  in  the 
art  of  modeling  portrait  busts. 

Some  busts  are  arranged  to  stand  on  their  own 
base,  as  in  term  or  block  busts  which  terminate  be- 
fore reaching  the  outer  ends  of  the  shoulders. 
Shoulder  busts,  in  which  the  arms  are  partly  rep- 
resented, would  look  squattish  if  left  to  rest  on 
their  own  bases ;  their  appearance  is  improved 
when  such  busts  are  elevated  upon  a  plinth  or 
stand.  Most  of  the  antique  Kusts  are  mounted  on 
a  round  stand,  something  of  the  ogee  or  torus  pat- 
tern. It  is  usual  to  model  the  bust  without  this 
stand,  and  to  mount  it  on  a  stand  after  it  has  been 
cast  in  plaster.  The  stands  may  be  had  ready 
made. 

DRAPERY. 

In  modeling  draped  figures,  much  attention  is 
needed  in  the  proper  arrangement  of  pleats  and 
folds.  In  drapery,  one  particular  fold  necessitates 
another,  where  a  graceful  consistency  is  maintained, 
as  much  as  a  given  position  of  the  arm  necessitates 


34  INSTRUCTIONS  IN  THE  ART  OF 

a  particular  disposition  and  elevation  or  contrac- 
tion of  its  different  muscles.  The  best  draped 
studies  are  found  in  casts  from  the  antique  sculp- 
tures. In  these  the  folds  or  pleats  are  represented 
by  straight  rather  than  by  curved  lines.  Even 
where  a  fold  assumes  a  circular  form,  it  is  effected 
in  the  best  models,  not  by  curved,  but  by  broken 


Fig.  6. 


VENUS  DI  MILO. 


straight  lines  (Fig.  8).  I  have  somewhere  read 
something  about  the  line  of  beauty  consisting  of 


MODELING  IN  CLAY.  35 

curved  lines,  but  the  engravings  intended  to  illus- 
trate this  seemed,  to  me  at  least,  unnatural  in  the 
extreme,  and  altogether  inartistic.  If  it  be  a  rule 
that  beauty  consists  of  curved  lines,  I  can  not 
think  that  it  applies  to  drapery.  The  zigzag 
strokes  which  occur  in  rough  or  unfinished  sketches, 
whether  drawn  or  modeled,  have  an  artistic  effect 
which  is  often  lost,  or  made  to  look  mechanical, 
where  rounding  off  or  high  finish  is  attempted. 
In  modeling,  mere  indications  have  often  a  more 
artistic  effect  than  a  studied  roundness.  I  do  not 
know  that  any  fixed  rules  on  this  matter  are  recog- 
nized by  the  great  masters,  the  knowledge  of  which 
might  save  students  from  groping  in  the  dark,  but 
it  has  been  my  own  experience  to  find  that  running 
lines,  whether  curved  or  straight,  exist  only  in  in- 
ferior work,  while  in  the  works  of  the  best  masters, 
they  are  carefully  broken  up,  and  arranged  in  such 
a  mariner  as  to  avoid  an  offensive  repetition. 
What  is  here  said,  with  regard  to  drapery,  applies 
equally  to  the  hair,  where  balance  should  be  main- 
tained, but  repetition  avoided. 

In  producing  original  models  of  draped  figures 
it  is  usual,  even  among  experienced  sculptors,  to 


36  INSTRUCTIONS  IN  THE  ART  OF 

clothe  a  lay  figure  and  then  to  copy  the  same. 
Some  artists  are  so  particular  with  regard  to  their 
model,  in  fixing  the  attitude  and  in  arranging  the 
folds  of  the  dress  so  as  to  fall  gracefully,  as  to 
spend  several  days  thereon  before  they  commence 
to  copy  it.  And  being  aware  that  each  kind  of 
fabric  has  its  own  anatomy  or  physiognomy,  they 
will  provide  for  their  model  silk,  satin,  or  what- 
ever material  they  wish  to  represent  in  their  work. 
This  method  I  shall  here  recommend  as  furnishing 
the  best  and  most  safe  rule  to  adopt  to  guard 
against  the  errors  that  may  be  made -in  modeling 
drapery,  especially  since  each  different  attitude  of 
the  body  determines  its  appropriate  folds  in  the 
dress. 

ANATOMY. 

Previous  to  starting  on  the  entire  figure  I  would 
recommend  learners  to  begin  with  models  of  the 
the  hand  and  foot.  Casts  of  these  are  plentiful, 
and  may  be  had  in  various  positions. 

In  modeling  the  human  figure  a  knowledge  of 
the  external  muscles  will  be  of  great  advantage. 
This  may  be  gleaned  from  anatomical  figures  (Fig. 
7).    Plaster  casts  of  these  ranging  about  two  feet 


MODELING  IN  CLAY,  37 

high,  are  obtainable.  There  is  a  very  fine  reduc- 
tion about  this  size,  by  Flaxman,  of  the  Gladiator, 
which  is  most  useful  in  the  study  of  figure  draw- 


Fig.  7.  Fig.  8. 


ANATOMICAL  FIGURE. 

ing  or  modeling.  In  schools  of  art  this  is  a  fa- 
vorite subject  to  copy  (Fig.  6).* 


*It  is  very  essential  that  the  pupil  who  desires  to  excel 
in  modeling  the  human  figure  should  study  the  subject  in 


38 


INSTRUCTIONS  IN  THE  ART  OF 


PROPORTION.* 

In  well-proportioned  figures,  it  is  usual  to  find 
the  length  of  the  body  from  head  to  foot  to  be 
about  eight  times  the  length  of  the  face  measured 
from  the  lower  part  of  the  chin  to  that  part  of  the 
forehead  which  forms  the  boundary  between  the 
organs  of  the  intellectual  faculties  and  those  of  the 
moral  sentiments.  The  length  of  the  hands  bears 
a  certain  proportion  to  the  fore-arm,  and  this  to 
the  arm  from  the  elbow  to  the  shoulder.  The  foot 
is  in  length  shorter  than  the  leg  from  the  ankle  to 
the  knee  joint,  and  this  is  shorter  than  the  leg 
from  the  knee  to  the  hip. 

An  idea  of  the  proportion  which  the  limbs  bear 
to  each  other  may  be  inferred  from  the  following 

such  works  as  Dr.  Fau's  "  Elementary  Artistic  Anatomy/' 
or  his  larger  work,  ''Anatomy  of  the  External  Forms  of 
Man,"  or  Marshall's  "Anatomy  for  Artists."  He  will  de- 
rive great  assistance  from  the  admirable  plates  with  which 
these  books  are  illustrated. 

*  Consult  Marshall's  u  Rule  of  Proportion  for  the  Human 
Figure." 


MODELING  IN  CLAY. 


39 


numbers,  which  appertain  to  a  figure  measuring 
five  feet  ten  inches  from  head  to  foot: 

From  ground  to  ankle  2  inches  7  eighths. 

From  ankle  to  knee  18  "  o 

From  knee  to  hip  19  "  2 

From  hip  to  collar-bone  16  "  6 

From  collar-bone  to  top  of  head  13  "  1 

Length  of  foot,  from  heel  to  toe  10      "  5 

Hand,  finger-end  to  wri^t-joint  8  "  3 

Wrist-joint  to  elbow-joint  10  "  o 

Elbow  to  shoulder  12  u  o 

These  numbers  apply  to  casts  from  antique 
models  of  the  most  symmetrical  kind  ;  and  for  the 
reason  that  such  models  convey  the  best  informa- 
tion, they  are  now  adopted  in  every  school  of  art 
as  the  most  useful  studies  ;  and  as  therefore  the 
foregoing  numbers  indicate  what  have  been  re- 
garded, in  both  ancient  and  modern  times,  as  the 
most  perfect  proportions  of  the  limbs  of  the  body, 
they  may  now  be  adduced  as  a  standard  or  rule,  by 
the  observance  of  which  the  student  may  avoid 
errors  with  regard  to  the  proportion  which  the 
limbs  bear  to  each  other,  the  body,  and  to  the  en- 
tire length  of  the  figure. 


4o 


INSTRUCTIONS  IN  THE  ART  OF 


DISPROPORTION. 

It  is  difficult  to  lay  down  rules  relating  to  Na- 
ture's handiwork  to  which  she  does  not  furnish  ex- 
ceptions, for  we  frequently  meet  with  persons  whose 
proportions  will  in  no  way  fall  in  with  the  measure- 
ments given  above.  Some  have  bodies  so  long  and 
legs  so  short  as  to  be  in  a  degree  even  painful  to 
behold.  I  have  seen  persons  with  arms  so  short 
as  to  resemble  much  the  appearance  of  a  kangaroo, 
and  others  with  arms  so  long  as  to  appear  like  those 
of  the  gorilla  ;  some  with  a  giraffe-like  length  of 
neck,  and  others  with  legs  so  long,  compared  with 
the  body,  as  to  suggest  the  figure  of  an  ostrich. 
Although  such  diversities  show  that  Nature  is  not 
restricted  by  any  bounds,  they,  nevertheless,  do  not 
excite  that  appreciation  which  we  feel  for  what  is 
intuitively  regarded  as  perfect.  What,  therefore, 
is  inappreciable,  not  to  say  objectionable,  in  Nature 
should  be  sedulously  avoided  in  art;  while  the  im- 
portance of  observing  just  proportions  will  be 
self-evident. 

To  render  applicable  the  foregoing  measurements 


MODELING  IN  CLAY. 


41 


to  figures  of  any  size,  I  now  propose  the  following 
easy  method  for  securing  correct  proportions  : 

METHOD   OF   MEASURING   TO   SECURE   CORRECT  PRO- 
PORTIONS. 

Cut  a  stick  of  wood  the  same  length  as  the  figure 
intended  to  be  modeled,  whatever  its  size  may  be; 
mark  off  the  same  into  twenty-four  equal  parts, 
then  number  each  part  in  regular  order  from  end 
to  end.     (Fig.  9.) 

Number  1  marks  about  the  ankle-joint  from  bottom  of  foot 
"      7      «  "      knee  "  " 

"     13J    "  "      hip  -  " 

"    20      "  "      shoulder  "  " 

"    24      "  "      top  of  head       "  " 

Length  of  foot  about  3J  parts. 
Long  finger-end  to  wrist-joint  3  parts. 
"  <•  elbow        6\  " 

"  "  shoulder    10  " 

Length  of  face  about  2§  or  nearly  3  parts. 

The  head  varies  in  size  according  to  the  character 
represented  in  the  figure.  Where  physique  is  the 
predominating  quality,  as  in  athletes,  the  head  will 
be  small  compared  with  the  body.  Where  mind  is 
in  the  ascendency,  as  in  able  statesmen  and  philos- 


42 


INSTRUCTIONS  IN  THE  ART  OF 


ophers,  the  head  is  larger  and  forms  the  most  at- 
tractive feature.  The  female  head  is  smaller  than 
the  male  head.    To  measure  the  body,  therefore, 

Fig.  9. 


HERCULES. 


by  lengths  of  the  head,  is  a  method,  though  com- 
mon, by  no  means  infallible*  The  head  in  children 
is  much  larger,  compared  with  the  body,  even  than 
in  statesmen.* 

*  The  fact  that  the  head  is  larger  in  children  than  in 
adults,  compared  with  the  rest  of  the  body,  was  pointed  to 


MODELING  IN  CLAY. 


43 


PROPORTION   IN  CHILDREN. 

The  body  is  longer  in  the  child  than  in  the 
adult  figure,  to  which  alone  the  foregoing  measure- 
ments apply.  The  growth  is  greater  in  the  limbs 
during  youth  until  manhood. 

The  method  herein  proposed  for  measuring  the 
proportion  of  the  limbs  applies  equally  to  slim  or 
thickly-set  figures ;  accordingly  there  can  be  no 
settled  or  fixed  measurements  employed  to  decide 

by  anti-phrenologists  as  being  opposed  to  the  phrenological 
theory.  In  answer  to  this,  I  beg  to  state,  that  even  if  it 
were  a  principle  in  phrenology,  which  it  is  not,  that  the 
size  of  the  head,  compared  with  that  of  the  body,  decided 
the  amount  of  mental  power,  the  doctrines  of  phrenology 
would  remain  unaffected  by  such  an  objection  ;  for,  though 
the  head  of  the  less  intelligent  child  is  larger  than  that  of 
the  more  intelligent  man,  it  should  be  remembered  that  the 
brains  of  infants  are  more  taxed  than  those  of  adults.  The 
child  is  ushered  into  the  world  as  a  stranger,  but  what  is 
stranger  still  is  the  world  to  him,  for  he  knows  nothing  of 
it,  nor  of  anybody  about  him.  About  the  "  earth  and  the 
fulness  thereof"  he  has  every  thing  to  learn.  He  at  first 
perceives  objects,  he  next  learns  to  distinguish  and  remem- 
ber them,  and  after  much  floundering  about,  he  directs  his 


44 


INSTRUCTIONS  IN  THE  ART  OF 


what  should  be  the  width  or  circumference  of  the 
chest  compared  with  the  height  of  the  figure.  In 
the  male  figure  the  circumference  of  the  chest 
should  be  greater  than  that  of  the  loins  or  about 
the  hips,  while  in  the  female  figure  this  order  is 
nearly  reversed  (Fig.  10).  In  Nature  there  are  ex- 
ceptions to  this  rule  which  should  be  studiously 
avoided  as  models  to  work  from. 

tiny  hands  to  reach  them.  Every  movement  thus  made  is 
the  result  of  brain-work,  although  to  all  appearance  per- 
fortjted  mechanically  and  without  consciousness ;  for  when 
the  nerve  is  severed  which  connects  the  limbs  with  the 
brain,  all  such  movements  cease.  Before  the  child  can  walk 
he  has  to  learn  to  balance  himself,  and,  during  this  lesson, 
he  often  gets  a  hard  thump  for  the  slightest  mistake.  In 
short,  he  has  to  learn  many  rudiments,  a  task  much  more 
difficult  than  their  application.  It  is  the  first  part  of  life's 
business  that  is  most  difficult.  The  child  has  a  larger  head 
than  the  man,  admitted  ;  and  the  largest  amount  of  mental 
taxation  to  endure,  indisputable.  Let  this  settle  the  matter. 
As  it  is  upon  phrenological  principles  that  I  take  my  stand- 
point in  directing  the  pupil  through  these  pages,  I  hope  to 
be  excused  for  this  digression. 


MODELING  IN  CLAY. 


45 


CONFORMABLENESS   OF  THE   BODY  TO   THE  HEAD. 

Just  as  the  head  and  face  are  expressive  of  the 
character,  so  will  the  whole  body  bear  a  general 
correspondence  to  these,  and  is,  necessarily,  as  a 


Fig.  10. 


VENUS  DI  MEDICI. 

t 

consequence,  indicative  of  character  also.  Indeed, 
there  is  an  unswerving  relationship  of  the  head  to 
the  body  down  to  the  very  finger-ends.  With 


46  INSTRUCTIONS  IN  THE  ART  OF 


the  feet  and  body  of  the  hawk  we  need  not  the 
head  to  know  them  to  be  of  a  rapacious  creature. 
Here  is  a  law  which,  if  observed,  will  save  the 
pupil  from  joining  parts  which  nature  repudiates 
without  exception.  How  ridiculous  it  would 
seem  if  the  nervous  and  philosophic  head  of 
Voltaire  had  been  placed  upon  the  body  of  the 
Farnese  Hercules — a  head  of  the  most  delicate 
lineaments  on  a  body  of  full-blooded  muscle. 

I  give  it  upon  hearsay,  that  a  naturalist- of  high 
repute,  on  being  furnished  with  a  single  bone  of 
an  unknown  animal,  drew  the  entire  skeleton,  and 
when  the  drawing  was  compared  with  the  entire 
skeleton,  which  was  afterward  found,  the  resem- 
blance was  perfect. 

If  a  single  bone  bears  about  it  characteristics  by 
which  the  naturalist  is  enabled  thus  to  determine 
its  place,  the  number  and  relative  proportions  of 
the  bones  composing  the  entire  skeleton,  it  leaves 
no  doubt  whatever  of  the  existence  of  a  relation- 
ship between  the  different  parts  of  the  same  btody  ; 
bearing,  as  it  were,  a  sort  of  family  likeness,  one 
to  the  other,  while  the  fact  distinctly  points  to  the 
existence  of  a  law  (fixed  principles  in  Nature),  the 


MODELING  IN  CLAY.  47 

knowledge  of  which  would  materially  assist  both 
the  painter  and  sculptor. 

Even  at  the  present  time  there  seems  to  be  a  de- 
plorable ignorance  among  artists  of  those  princi- 
ples, the  knowledge  of  which  supplies  the  man  of 
science  with  so  unerring  a  guide.  Even  the  Royal 
Academician  is  found  guilty  of  combining  incon- 
gruities, by  placing  the  head  of  a  profound  and 
deep-thinking  philosopher  upon  the  body  of  a 
gaunt  slouch. 

In  Nature,  where  the  head  is  expressive  of  deli- 
cacy and  refinement,  we  find  the  same  conveyed  by 
a  delicacy  of  form  throughout  the  entire  body,  even 
to  the  folds  of  the  dress.  Take  the  sporting  gent 
on  the  morning  of  the  race,  his  face  is  full  of  life 
and  animation,  his  gait  is  light  and  active;  but  be- 
hold him  at  night,  with  eyes  bleared,  counten- 
ance fallen ;  does  his  body  retain  its  morning's 
elasticity?  No!  like  his  face,  it  has  a  downward 
hanging.  Even  his  dress,  so  prim  in  the  morn- 
ing, is  now,  like  the  body  within,  dull  and  heavy. 

In  heraldly,  where  we  meet  with  various  com- 
binations, the  savage  is  not  joined  to  the  docile 
creature.    The  griffin,  with  its  eagle-like  head,  is 


48 


INSTRUCTIONS  IN  THE  ART  OF 


not  supported  with  the  legs  of  the  gazelle,  but 
upon  sinuous  claws;  even  the  wings  and  tail  are 
forked,  and  convey  the  fierceness  expressed  in  the 

Fig.  ii. 


THE  GRIFFIN. 


head.  The  sluggish  pig's  head  is  never  joined  to 
the  graceful  neck  of  the  swan.  In  the  legions  of 
fabled  monsters  such  digressions  are  not  admitted 
which  artists  frequently  commit,  in  ignorance  of 
the  law  which  invests  every  part  of  the  animal 
system  with  the  same  characteristics. 

If  the  ancients  were  not  possessed  of  any  sys- 
tematized theory  on  the  subject,  they  seem,  at 
least  in  their  sculpture,  to  have  observed  such  a 
law.    The  statue  of  Apollo,  which  is  so  much 


MODELING  IN  CLAY.  49 

admired  for  its  symmetrical  proportions,  shows  the 
face  to  be  almost  expressionless,  and  this  quality  is 
conveyed  throughout  the  whole  body  by  its  smooth 
and  unbroken  surface.  The  fighting  gladiator, 
on  the  body  of  which  every  external  muscle  is 
markedly  shown,  is  much  more  attractive  on  this 
account,  and  though  its  character  is  only  that  of  an 
athlete,  the  head  is  quite  in  conformity  with  this, 
showing  a  fullness  at  the  lower  part  of  the  forehead, 
indicating  a  suitableness  for  grappling  with  physi- 
cal difficulties,  but  wanting  in  that  height  usual  in 
those  who  engage  in  refined  and  philosophic  studies. 

PHRENOLOGY,    ITS   AID   IN  MODELING. 

It  may  appear  presumptuous  to  those  who  are 
prejudiced  against  phrenology,  but  it  is  my  own 
opinion  that  the  pupil  who  aims  at  perfection  in 
the  art  of  modeling  will  do  well  to  attend  to  the 
principles  propounded  by  the  phrenological  theory. 
I  do  not  mean  to  imply  that  a  knowledge  of 
scientific  principles  alone  will  constitute  an  artist, 
but  aided  by  such  knowledge  the  pupil  will  be  en- 
abled to  anticipate  the  result  of,  each  stroke  with  a 
degree  of  certainty  which  will  bring  him  to  a  state 


5<D  INSTRUCTIONS  IN  THE  ART  OF 

of  proficiency  that  goes  a  long  way  toward  making 
him  a  master  of  the  art  of  modeling.  It  will  in- 
spire him  with  a  confidence  which  will  make  his 
strokes  masterly  ;  but,  unguided  by  such  knowl- 
edge, however  expert  in  the  use  of  the  tools,  his 
work  may  be  well  done,  but  look  blank  and  mean- 
ingless. It  is  not  the  man  who  writes  the  best 
hand  that  pens  the  best  essay.  That  man  who  can 
only  scrawl,  but  understands  his  subject,  will  carry 
the  palm.  The  rough-hewn  works  of  Michael 
Angelo  are  not  improved  upon  by  the  highly- 
finished  productions  of  the  amateur. 

But  some  are  so  insensible  to  human  nature, 
that  any  reference  made  to  character  is,  to  such,  as 
futile  as  an  oration  delivered  to  the  deaf,  or  as  an 
essay  on  colors  to  the  blind. 

There  is  not  a  single  object  in  Nature  which,  in 
its  outward  form,  does  not  bear  physiognomic  indi- 
cations of  its  internal  nature. 

In  the  vegetable  kingdom  tnere  are  thousands 
of  plants  possessing  each  a  particular  medicinal 
property.  It  is  by  the  form  and  general  appear- 
ance of  each  that  the  botanist  knows  to  distin- 
guish these.    This  has  to  be  done  with  a  degree 


MODELING  IN  CLAY.  5 1 

of  certainty  to  make  them  useful  for  pharmacopial 
preparations,  on  the  quality  of  which  human  life 
often  depends.  It  is  well  known  that  many  whole- 
some plants  have  their  spurious  prototypes,  which, 
when  mistaken  for  the  genuine,  prove  very  inju- 
rious. In  cases  of  this  kind,  although  the  resem- 
blance is  so  great,  there  is  a  difference  by  which 
any  one  experienced  in  such  matters  can  distin- 
guish the  good  from  the  bad. 

In  mankind,  such  resemblances  are  not  uncom- 
mon, and  require  an  experienced  judge  to  know 
the  gentleman  from  the  dissembler;  and  while 
such  differences  are  to  be  distinguished  by  such 
slender  shades,  the  artist  can  not  be  too  wary  of 
them,  nor  should  he  consider  that  time  but  as  well 
spent  which  will  lead  him  to  a  knowledge  of  those 
principles  by  which  he  may  guide  his  strokes  to  a 
desired  end;  for  should  he  produce  any  thing  good 
without  such  knowledge,  either  inherent  or  ac- 
quired, it  will  be  the  result  more  of  chance  than 
art,  and  he  can  have  no  dependence  on  himself. 

Phrenology  points  not  only  to  forms  and  propor- 
tions in  deciphering  character,  but  in  the  name  of 
<c  temperament "  it  directs  the  attention  to  consti- 


52  INSTRUCTIONS  IN  THE  ART  OF 

tutional  conditions,  which  decide  the  quality  of  the 
bulk.  This  is  an  item  which  the  artist,  under- 
standing his  business,  will  not  allow  to  be  passed 
over  as  unimportant.  He  will  then  know  that  it 
will  be  but  spoiling  his  work  to  engage  upon  a 
sitter  whose  face,  from  indisposition,  is  flaccid  and 
inanimate.  Grief,  or  a  slight  cold,  will  sometimes 
obliterate,  for  a  time,  the  delicate  lineaments  of  the 
face,  and  make  it  look  inert  and  dead.  Cases  of 
this  sort  have  been  known  sometimes  to  disgust 
persons  with  their  own  appearance.  The  artist, 
seeing  from  this  the  important  part  which  these 
fine  chiselings  form  in  portraying  character,  should 
not  fail  to  insert  them  in  his  work  when  his  model 
demands  their  presence,  nor  fail  to  represent  them 
correctly  lest  the  least  deviation  should  alter  the 
expression.  By  a  knowledge  of  the  temperaments 
the  artist  will  understand  that  a  feature  insuffi- 
ciently developed  in  proportion  to  the  rest  of  the 
face  will  make  that  part  look  weak,  while  an  excess 
is  likely  to  give  the  part  the  appearance  of  being 
diseased. 

Should  the  pupil  be  unable  to  appreciate  this, 
and  still  wish  to  become  a  sculptor,  I  would  advise 


MODELING  IN  CLAY.  53 

him  to  turn  from  living  subjects  and  choose  dead 
ones,  such  as  monuments  and  tombstones.  Here 
I  shall  leave  the  pupil  to  himself,  who  must  not 
forget  that  continued  practice,  and  not  theory  or 
books,  will  make  the  artist. 

TO   CAST   CLAY   MODELS   IN  PLASTER. 

To  make  a  mold  from  the  clay  model,  and  to 
make  a  plaster  cast  from  the  said  model,  is  an  art 
distinct  from  that  of  modeling.  When  a  model 
has  been  sufficiently  well  executed  as  to  be  worth 
reproducing  in  plaster,  it  is  most  safe  to  employ  a 
professional  molder  to  do  it.  In  the  best  hands  it 
is  very  risky  work,  and  in  most  cases  the  plaster 
cast  has  to  be  retouched  by  the  artist.  Clay  mod- 
els should  be  molded  as  soon  as  possible  after  they 
are  finished,  because  if  left  to  dry  they  crack  and 
lose  much  of  their  original  character.  Where  it  is 
inconvenient  to  call  in  a  molder,  and  the  modeler, 
on  this  account,  is  anxious  to  do  the  molding,  a 
few  hints  on  this  art  may  be  found  useful. 

To  make  a  plaster  cast  from  the  clay  model,  say 
a  bust,  a  mold  is  first  made  in  two  parts.  To  ac- 
complish this,  the  model  has  first  to  be  specially 


54  INSTRUCTIONS  IN  THE  ART  OF 

arranged,  by  placing  a  band  or  ridge  of  clay  around 
the  head  after  the  manner  of  the  rim  of  a  hat, 
about  the  back  part  of  the  head  rather  than  at  the 
top,  after  the  fashion  that  hats  are  worn  by  sailors. 
A  thin  layer  of  plaster  is  then  carefully  thrown 
about  the  bust,  until  the  part  below  the  rim  is 
thoroughly  covered  right  up  to  the  edge  of  the 
clay  margin,  avoiding,  as  much  as  possible,  the 
plaster  splashing  on  to  the  model  above  the  clay 
ridge.  The  quantity  of  plaster  to  be  mixed  for 
this  purpose  will  depend  on  the  size  of  the  model, 
and  must  be  judged  of  by  the  operator.  In  mix- 
ing the  plaster  for  the  first  layer,  some  water, 
about  sufficient  for  the  purpose,  is  poured  into  a 
basin  sufficiently  large  to  admit  of  mixing.  The 
water  is  then  tinted  by  throwing  in  a  little  dry 
Venetian  red  or  yellow  ochre  as  supplied  by  color- 
men  in  powder.  After  one  or  other  of  these  colors 
has  been  well  stirred  into  the  water  by  means 
of  a  spoon,  the  plaster  is  then  lightly  but  quickly 
sprinkled  in  until  it  is  seen  rising  nearly  level  in 
all  parts  with  the  surface  of  the  water ;  it  is  then 
stirred  up,  and  not  before^  and  without  delay  ap- 
plied to  the  model  by  throwing  on  with  the  hand 


MODELING  IN  CLAY.  55 

or  a  spoon,  whichever  is  found  to  answer  best. 
This  should  be  done  expeditiously,  for  plaster 
when  mixed,  like  "  time  and  tide,  waits  for  no 
man."  The  plaster  should  be  used  while  in  a  thin 
fluid  state,  for,  if  applied  when  it  becomes  thick  or 
stiff,  it  will  impress  or  distort  the  model. 

After  the  first  layer  of  tinted  plaster,  about  the 
thickness  of  two  or  three  penny  pieces,  is  on,  it 
should  be  slightly  sprinkled  with  a  little  clayey 
water,  that  is,  water  with  a  little  clay  stirred  into 
it,  about  sufficient  to  give  it  a  milky  consistency. 
This  is  used  to  serve  to  separate  the  first  thin 
tinted  layer  of  plaster  from  the  second  thick  white 
layer  which  follows.  After  the  first  layer  has  been 
sprinkled  with  the  clay  water,  it  has  then  to  be 
covered  with  another  layer  of  plaster  mixed  as  the 
previous  one,  but  without  color,  and  spread  on 
about  half  an  inch  or  more  in  thickness  all  over. 
Large  models  require  the  mold  to  be  thicker  than 
small  ones  for  fear  of  a  collapse  while  working. 
When  this  part  of  the  mold  has  been  made  suffi- 
ciently strong  or  thick,  the  clay  band  or  rim  is 
next  carefully  removed  from  around  the  head,  and 
any  roughness  about  the  margin  of  the  mold, 


56  INSTRUCTIONS  IN  THE  ART  OF 

formed  by  the  clay  band,  should  be  carefully  cut 
away,  and  four  or  more  sloping  notches  cut  equi- 
distant in  the  margin  of  the  mold,  which  is  then 
brushed  over  with  clay  water;  then  a  thin  layer  of 
tinted  plaster  is  applied  to  the  uncovered  part  of 
the  model,  extending  right  to  the  outer  edge  of 
margin  of  the  first  part.  This  is  sprinkled  with 
clay  water,  and  then  covered  with  a  thick  layer  of 
uncolored  plaster,  as  in  the  previous  part  of  the 
mold.  The  mold  has  now  to  be  sprinkled  with 
water  (not  clayey),  until  it  is  thoroughly  saturated 
and  shining  with  wetness.  Plaster,  even  when  re- 
cently mixed,  is,  as  soon  as  it  is  set,  very  porous 
and  absorbent,  and  requires  a  deal  of  sprinkling,  or 
soaking,  where  possible,  to  sufficiently  saturate  it. 
Any  superfluous  plaster  that  may  be  overlapping 
where  the  mold  should  separate,  should  be  re- 
moved by  cutting  away.  The  top  piece  of  the 
mold  is  now  to  be  pulled  off:  should  it  resist,  it 
may  be  pried,  at  the  opening,  with  a  chisel  at  dif- 
ferent points.  When  the  top  piece  is  removed, 
the  clay  model  is  then  carefully  withdrawn  from  the 
interior  of  mold  piecemeal.  Whatever  instrument 
is  found  best  for  this  purpose  may  be  used.    It  is 


MODELING  IN  CLAY.  57 

best  to  clear  the  clay  from  the  middle  of  the  model, 
until  it  gets  thin  enough  to  bend  away  the  rest  re- 
maining on  the  interior  of  the  mold.  In  getting 
the  clay  out,  some  care  is  necessary  to  avoid 
notching  the  interior  of  the  mold,  for  any  impres- 
sions thus  made  will  produce  corresponding  de- 
fects in  the  cast ;  although  these  may  be  easily 
remedied,  it  is  better  to  save  this  trouble  by  a  lit- 
tle previous  care.  When  every  particle  of  clay 
has  been  removed,  the  mold  should  be  carefully 
washed  throughout  the  interior  with  a  limp  haired 
brush.  When  thoroughly  washed  the  mold  should 
be  left  to  drain  for  a  while,  and  then  washed  with 
soft  soap  reduced  to  a  creamy  consistency  with 
boiling  water,  about  a  pint  and  a  half  to  a  half 
pound  of  soft  soap.  It  is  best  applied  with  a 
brush  as  when  shaving.  After  the  interior  of  the 
mold  has  been  well  brushed  all  over,  some  sedi- 
ment of  the  soap  will  remain  on  the  surface,  but 
this  must  be  all  carefully  brushed  out,  but  no  water 
to  be  used  for  this  purpose.  When  thus  prepared 
the  top  piece  is  to  be  replaced  and  bound  down 
firmly  with  cord.  The  exterior  should  now  again 
be  well  saturated  with  water.    A  layer  of  plaster, 


<; 8  INSTRUCTIONS  IN  THE  ART  OF 

mixed  as  previously  advised,  without  color,  is  now 
thrown  in  and  shaken  all  over  the  interior  of  the 
mold.  Other  layers  are  to  follow  this  in  quick 
succession  until  the  cast  becomes  thick  enough. 

In  twenty  minutes  after  throwing  in  the  last 
coat  of  plaster  the  cast  should  be  sufficiently  set  to 
remove  the  mold  therefrom.  With  chisel  and 
mallet  the  exterior  mold  is  gently  chipped  away 
from  the  interior  tinted  layer,  which  is  next 
removed  by  being  picked  off  with  whatever  kind  of 
tool  is  found  best  for  the  purpose — one  flat, 
pointed,  and  slightly  curved  at  the  end,  is  mostly 
used.    The  cast  may  now  be  finished  at  leisure. 

In  making  casts  from  full-length  figures  the 
same  method  is  employed,  excepting  that  the  clay 
band,  used  to  form  the  separation  in  the  mold,  is 
made  to  extend  from  over  the  top  of  the  head, 
down  the  sides  toward  the  back,  right  to  the  base, 
so  as  to  form  a  sort  of  back  and  front  to  the 
mold.  In  molding  masks  or  relievos  one  piece 
will  be  sufficient,  without  making  the  mold  in 
parts.  Should  the  mold  break  into  pieces  before 
the  cast  is  made,  the  pieces  should  be  put  together 
accurately  and  fixed  with  plaster  on  the  outside. 


MODELING  IN  CLAY.  59 

The  first  layer  of  tinted  plaster  should  be  thrown 
into  all  the  interstices,  so  that  every  part  of  the 
model  be  covered  by  it.  The  tinted  plaster  is 
used  to  distinguish  the  mold  from  the  cast,  so  as 
to  guard  against  chipping  beyond  the  one  and  into 
the  other,  of  which  there  would  be  great  danger  if 
the  mold  was  not  thus  distinguished  from  the 
cast. 

This  method  of  casting  models  is  known  as 
waste-molding,  probably  because  the  mold  is  de- 
stroyed in  getting  out  the  original  cast. 

Where  the  arms,  or  other  parts  of  a  figure,  ex- 
tend away  from  the  body,  it  is  usual  to  cut  these 
off,  and  to  mold  and  cast  them  separately.  Un- 
draped  figures,  standing  with  only  their  legs  to  sup- 
port them,  should,  when  being  cast,  have  rod-iron 
inserted  in  the  legs  to  strengthen  them.  The  iron 
should  be  previously  cut  to  the  proper  length,  and 
then  bent  to  suit  the  curves  of  the  legs.  This  is 
best  done  by  fitting  to  the  mold  previous  to  pre- 
paring, and  tying  it  up  for  casting.  The  iron  is 
put  in  through  the  opening  at  the  base  as  soon  as 
possible  after  the  plaster  has  been  thrown  in.  The 
iron  should  be  bent  up  at  the  bottom  end,  to  pre- 


6o 


INSTRUCTIONS  IN  THE  ART  OF 


vent  it  slipping  away  through  the  legs  into  the  body, 
otherwise  its  purpose  will  be  lost.  The  iron,  by 
being  thus  bent  into  the  stand,  will  add  to  the 
strength  of  the  figure.  The  arms  should  be 
strengthened  in  the  same  way,  with  the  iron  jut- 
ting a  little  way  out  where  the  arm  joins  the  body. 
The  part  jutting  out,  by  being  let  into  a  hollow 
purposely  made  in  the  body,  will  make  the  joint 
more  secure.  Where  plaster  casts  have  to  be 
joined  up  from  being  made  in  parts,  the  parts  to  be 
joined  should  be  hollowed  by  cutting  inward;  the 
hollows  are  then  to  be  well  wetted,  filled  in  with 
plaster,  put  together,  and  held  firmly  until  set. 
The  plaster  that  oozes  to  the  surface,  as  it  should 
for  the  joint  to  be  a  firm  one,  is  then  to  be  care- 
fully scraped  away.  The  iron  used  for  strengthen- 
ing the  casts,  after  it  is  cut  and  bent  to  the  length 
and  shape  required,  should  be  made  hot  and  rubbed 
all  over  with  common  sealing-wax.  This  will  pre- 
vent it  rusting,  and  staining  the  cast  with  iron- 
mold. 

The  art  of  making  piece  molds,  from  which  a 
number  of  casts  may  be  produced,  requires  almost 
an  apprenticeship  to  learn,  and  consequently  can 


MODELING  IN  CLAY. 


6l 


not  be  acquired  theoretically.  From  such  molds 
impressions  in  clay  may  be  taken,  and  terra-cotta 
copies  repeated  when  clay  specially  prepared  for  such 
work  is  used.  Such  impressions,  or  clay  squeezes, 
as  they  are  otherwise  called,  require  some  trimming- 
up  after  leaving  the  mold,  and  must  be  allowed  to 
get  thoroughly  dry  before  being  submitted  to  the 
kiln  for  baking. 

The  original  model  may  be  done  in  terra-cotta 
clay,  and  if  built  up  hollow  may  be  baked,  and  so 
preserved  without  being  cast  in  plaster. 

To  make  a  waste  mold  and  cast  will  be  found 
much  more  easy  to  read  about  than  to  do,  especially 
by  those  who  have  never  seen  such  work  done.  A 
practical  lesson  would  save  a  deal  of  bungling. 


ON  MODELING  FOLIAGE,  ETC.,  FOR  POTTERY 
AND  ARCHITECTURAL  DECORATION. 

For  technical  discipline,  and  for  decorative  pur- 
poses, modeling  in  clay  has  a  use  and  importance 
not  generally  recognized.  A  great  variety  of  in- 
teresting and  original  plastic  work  is  within  the 
reach  of  almost  every  intelligent  observer  of  na- 
ture's instructive  forms.  Those  who  would  carve, 
with  effect,  in  wood  or  stone,  or  work  in  metal, 
will  find  modeling  in  clay  a  necessary  and  time- 
rs) 


64 


APPENDIX. 


saving  preliminary.  Those  who  live  within  reach 
of  a  pottery,  where  their  work  may  be  fired,  have 
a  means  of  giving  permanence  to  their  attempts 
by  some  of  the  lustrous  glazes  now  attainable,  or 
by  metallic  and  earthen  pigments,  and  subsequent 
transparent  glazing,  that  will  make  their  work  a 
delight  to  the  eye  and  the  mind.  The  art  student 
who  aims  to  re-present,  or  even  suggest,  nature's 
infinite  freedom  and  charm,  thereby  avoiding  life- 
less, wooden,  and  unmeaning  forms,  must  first  use 
the  plastic,  helpful,  obedient  clay.  Drawing  teaches 
us  to  observe;  modeling  makes  us  know.  In 
modeling,  the  sense  of  touch  is  exercised  in  con- 
junction with  that  of  sight,  and  forms  are  readily 
memorized,  which  would  be  likely  to  escape  if 
they  were  only  drawn. 

WHAT  TO  MODEL. 

Art  work  that  does  not  appeal  to  the  judgment 
and  the  imagination  is  of  little  value,  and  need 
not  be  encouraged.  The  student  is  therefore  ad- 
vised not  to  commence  by  modeling  an  old  boot 
(see  page  14),  unless  it  has  a  history,  or  has  been 
through  a  campaign.    Any  one  of  a  dozen  differ- 


MODELING  FOLIAGE,  ETC. 


65 


ent  kinds  of  large  leaves  will  afford  equally  good 
discipline  for  eye  and  hand,  and  the  recognition  of 
beauty  and  life  in  the  form  of  the  leaf  will  be  a 
healthful  stimulus  to  the  mind,  while  the  skill  at- 
tained in  the  careful  modeling  of  one  leaf  will  be 
of  service  in  the  attainment  of  natural  effects  in 
all  other  plant  forms.  The  leaf,  too  (supposing 
it  to  be  a  holyhock),  if  fired  and  glazed,  may  serve 
the  purpose  of  a  fruit  dish,  and  possibly  become 
a  thing  of  use  as  well  as  of  beauty,  which  an  old 
boot,  however  carefully  reproduced,  never  could 
be. 

Among  the  subjects  which  the  student  may  select 
for  his  first  attempts  in  modeling,  are  such  leaves 
as  the  burdock,  grapevine,  geranium,  holyhock, 
magnolia,  and  many  large-leaved  weeds  of  striking 
outline  and  beauty.  Some  of  these,  with  or  with- 
out stems  for  handles,  make  interesting  and  use- 
ful objects  for  firing.  Next  take  groups  or  sprays 
of  leaves,  selecting  such  as  present  a  waved  surface 
and  striking  outline,  and  avoiding  those  which  are 
too  highly  serrated,  or  have  too  level  a  surface. 
Most  interesting  studies  are  furnished  by  sprays  of 
leaves  and  blossoms,  such  as  the  wild  rose,  dogwood, 


66 


APPENDIX. 


apple,  quince,  and  syringa,  avoiding,  at  first, 
double  blossoms  and  trumpet  and  funnel-shaped 
flowers,  or  such  as  do  not  readily  admit  of  treat- 
ment in  low  relief.  The  student  may  then  take 
compound  leaves,  as  the  Virginia  creeper,  ferns, 
ailanthus,  locust,  wisteria,  etc.,  or  such  fine  and 
striking  forms,  for  decorative  purposes,  as  the 
genus  solanum  or  the  wild  parsnip.  Butterflies, 
dragon  flies,  lizards,  frogs,  bats,  etc.,  may  be  intro- 
duced, if  space  and  subject  permit.  Birds  may 
then  be  attempted,  in  half  or  still  higher  relief. 
The  student  is  advised  not  to  attempt  copying  the 
minute  details  of  flowers.  The  representation  of 
the  stamens  and  pistils  of  the  wild  rose,  for  ex- 
ample, need  only — indeed,  can  only — be  generally 


MODELING  FOLIAGE,  ETC. 


67 


approximated.  Leaves,  sprays,  and  flowers  may 
be  arranged  for  copying,  so  that  their  stems  may 
reach  water  in  a  phial,  laid  obliquely.  An  un- 
changed model  may  thus  be  secured  for  one  or  two 
sittings.  It  is  not  so  much,  however,  the  exact  or 
servile  copying  of  any  one  leaf,  as  to  either  form 
or  position,  as  the  general  or  distinctive  expression 
of  form  and  growth,  that  the  student  should  seek 
to  represent  in  his  work. 

TOOLS. 

The  principal  tools  used  in  modeling  are  the 
fingers  and  thumbs.  For  surfaces  and  interstices 
that  can  not  be  thus  reached,  three  kinds  of  model- 
ing tools  are  used:  1.  Tools  with  a  chisel  edge, 
either  square  or  oblique;  2.  Tools  with  a  convex 
edge  or  point  ;  3.  Tools  with  a  concave  edge. 
They  can  usually  be  obtained  of  dealers  who  fur- 
nish artists'  materials,  or  they  may  be  made  by  the 
ingenious  student  himself,  from  any  hard,  close- 
grained  wood,  such  as  the  roots  of  black  walnut, 
box,  ebony,  or  persimmon.  The  best  tools  are 
made  from  cocoanut  wood  ;  their  close,  sating  sur- 
face prevents  the  clay  from  sticking,  and  their  very 


68 


APPENDIX. 


touch  is  a  pleasure.  Modeling  tools  are  from  six 
to  eight  inches  long,  swelling  toward  the  middle, 
which  should  be  oval  (5-16  x  7-16  inches),  so  that 
they  can  be  conveniently  and  firmly  held  in  the  re- 
quired position  by  the  thumb  and  first  two  fingers. 
After  the  wood  is  roughly  sawed  to  the  shape,  the 
tool  may  be  brought  to  the  desired  form  by 
means  of  a  wood  rasp.  It  is  then  smoothed  with 
a  scraper,  or  the  cutting  edge  of  a  piece  of  broken 
glass.  Afterward,  it  is  rubbed  with  fine  sand- 
paper, and  finished  by  burnishing  it  with  any 
smooth,  convex  steel  instrument. 

A  wet  sponge  is  necessary,  for  occasionally 
cleansing  the  fingers,  to  avoid  the  drying  of  the 
clay,  and  its  consequent  crumbling  over  the  work. 
After  each  sitting,  wet  cotton  cloths  must  be 
placed  over  the  work.  It  is  immaterial  whether 
they  touch  it  or  not,  so  that  the  air  is  excluded, 
and  the  clay  kept  in  fitting  condition  for  the 
student  to  resume  work.  A  spray  blower,  an  in- 
genious contrivance  used  by  cigar  makers,  called 
an  "atomizer,"  by  which  a  fine  spray  may  be 
blown  over  the  work,  when  necessary,  will  also  be 
needed. 


MODELING  FOLIAGE,  ETC. 


69 


METHOD   OF  WORKING. 

Modeling  clay,  which  is  sifted  and  free  from 
grit  and  impurities,  can  be  obtained  at  almost  all 
potteries.  Its  price  is  about  two  and  a  half  cents 
per  pound.  For  the  modeling  of  small  subjects, 
such  as  a  spray  of  leaves  or  flowers,  it  is  necessary 
to  procure  a  piece  of  slate  or  wood.  Upon  this  is 
modeled  a  rectangular  slab  of  clay,  an  inch  or  more 
in  thickness,  on  which  the  subject  to  be  modeled 
will  rest,  and  by  which,  when  dry,  it  will  be  lifted. 
The  slab  is  brought  to  the  required  shape  by 
adding  piece  after  piece  of  clay,  kneading  and 
pressing  it  with  the  fingers,  making  a  perfect  ad- 
hesion with  the  added  pieces,  and  avoiding  air 
holes.  The  slab  may  be  smoothed  and  brought  to 
a  uniform  thickness  by  laying  two  narrow  pieces 
of  wood,  of  even  thickness,  at  the  edges,  and  then 
drawing  a  straight-edge  or  a  piece  of  fine  wire 
across  the  surface.  The  edges  may  be  trimmed 
square  with  a  knife  or  the  thin  edge  of  a  modeling 
tool. 

On  this  slab,  the  student  may  now  proceed  to 
model  a  leaf,  by  building  up  and  pressing  into  po- 


7o 


APPENDIX. 


sition  small  pieces  of  clay,  until  he  has  roughly 
reproduced,  in  size  and  shape,  the  leaf  which  is 
before  him.  He  should  then  carefully  mark, 
with  a  pointed  tool,  the  outline  of  the  intended 
leaf,  after  which  he  may  cut  away  the  superfluous 
edges;  then  wave  the  surface  to  accord  with  the 
model,  gradually  bringing  it  to  the  required 
smoothness,  marking  veins,  etc.,  and  finally  under- 
cutting the  edges,  so  as  to  avoid  the  appearance  of 
unnecessary  thickness. 

If  a  single  leaf  of  large  size  is  to  be  modeled, 
especially  if  it  is  to  be  fired  for  a  dish,  it  does  not 
need  to  rest  on  a  slab,  but  may  have  a  portion  of 
its  under  surface — say  to  the  extent  of  about  one- 
third  of  its  diameter — flattened  to  form  its  base. 
If  the  edges  of  the  leaf  are  thin,  and  project  more 
than  an  inch  or  two,  they  may  require  to  be  sup- 
ported by  short  sticks  of  clay,  which  can  be  re- 
moved as  the  material  dries. 

In  modeling  a  study  of  leaves,  such  as  a  spray 
of  three  or  four  oak  leaves,  and  a  bunch  of  acorns, 
the  slab  should  be  somewhat  larger  than  the  sub- 
ject. As  the  student  builds  up  his  copy,  with 
the  model  directly  before  him,  adding  little  by  little 


MODELING  FOLIAGE,  ETC. 


7* 


to  the  shape  he  is  developing,  he  must  be  care- 
ful that  each  addition  blends,  without  leaving  air 
holes.  Only  when  the  desired  form  is  approxi- 
mated, need  he  use  his  tools  to  bring  out  each  de- 
tail to  his  satisfaction. 

MODELING  ON  PLAQUES  AND  VASES. 

An  exceedingly  interesting  kind  of  work,  and 
one  which  will  be  practiced  more  and  more,  as 
facilities  are  afforded  to  the  art  student,  is  model- 
ing on  plaques,  vases,  tiles,  etc.,  with  the  same  or 
different  colored  clays.  This  work  is  done  on  the 
raw  clay,  usually  about  a  day  after  the  object  has 
been  molded.  Foliage,  flowers,  butterflies,  birds, 
conventional  lines  of  ornament,  etc.,  afford  never 
ending  subjects  for  decorative  treatment.  To 
insure  the  best  results,  this  work  should  be  done  at 
the  pottery.  Modeled  work  may  be  painted  on 
the  green  clay,  or  it  may  be  fired  and  afterward 
painted  or  glazed  with  colors  of  exceeding  rich- 
ness. 


72 


APPENDIX. 


MODELED   WORK  FOR   ARCHITECTURAL  DECORATION. 

An  extensive  field  for  the  employment  of  mod- 
eled work  is  opening  up  in  architectural  decoration, 
especially  for  structures  where  pressed  brick  is  the 
building  material  used.  The  clay  used  for  this 
purpose  is  called  terra  cotta,  and  produces  a  harder 
and  more  enduring  material  than  any  other  known 
clay,  or  even  stone.  Terra  cotta  is  produced  by  a 
combination  of  potters'  clay,  fire  clay,  white  sand, 
alkalies  and  ground  potsherds,  producing  a  homo- 
geneous mass  which  partly  vertifies  in  the  process 
of  burning,  and  requires  no  after  glazing  to  make 
it  practically  indestructible  by  time,  fire,  or  frost. 
Modeled  tiles,  to  form  panels  for  insertion  above 
or  below  windows,  decorated  caps  for  doors  and 
windows,  brackets,  and  string-course  lines  of  dec- 
oration, are  among  the  uses  to  which  this  admir- 
able material  may  be  applied,  and  which  will  en- 
able the  skilled  amateur  to  obtain  for  his  home 
original  decoration,  which  might  be  quite  beyond 
his  means,  were  it  to  be  cut  in  stone. 


"Lovers  of  art  will  be  interested  in  every  page.  It  would 
be  difficult  to  see  how  the  field  could  be  covered  more  satis- 
factorily than  it  is  done  by  this  beautiful  magazine.— Chicago 
Inter"  Ocean. 

THE  ART  AMATEUR. 

A  Profusely  Illustrated  Monthly  Journal  Devoted  to 
the  Cultivation  of 

ART  IN  THE  HOUSEHOLD. 

 . 

All  the  features  which  have  made  this  Magazine  so  popular  in  the  past  will 
be  continued.    Among-  these  are  : 

1.  "AMERICAN  ART  GALLERIES,"  by  ''Cicerone"  (Edward 
Strahan),  which  have  already  included  the  Private  Collections  of  the  late 
A.  T.  Stewart,  Ex-Judge  Henry  Hilton,  Miss  Catharine  Wolfe,  T.  G.  Apple- 
ton,  Esq.,  and  John  Wolfe,  Esq. 

2.  Short  Biographies  of  Contemporary  Artists,  with  Illustrations  of  their 
Works,  which  have  already  included  E.  Moran,  C.  C.  Coleman,  Elihu  Ved- 
der,  E.  A.  Abbey,  Meissonier,  Gerome,  Detaille,  De  Neuville,  Sara  Bernhardt, 
Ad.  Marie,  Whistler,  and  Munkacsy.  Sketches  of  H.  H.  Moore,  F.  Dielman, 
A.  Quartley,  and  others,  are  now  in  preparation. 

3.  Illustrated  Notices  of  Picture  Exhibitions  and  Sales. 

4.  "  The  Print  Collector,"  with  full  and  valuable  Information  for  Collectors 
of  Etchings  and  Engravings. 

5.  Articles  on  "  Oriental  Ceramics,''  by  Prof.  Wm.  Elliott  Griffis, 
and  on  "  The  China  of  our  Grandmothers,"  by  Mrs.  Mary  E.  Nealy. 

6.  Popular  Articles  on  Furniture  and  Decoration,  by  Clarence  Cook, 
A.  T.  Bloor,  Shirley  Dare,  Thomas  A.  Kennett,  and  others. 

7.  Practical  Illustrated  Articles  on  Art  Needlework. 

8.  Instructive  Accounts  of  Industrial  Art  Work. 

9.  Descriptions  of  Private  and  Public  Collections  of  Bric-k-Brac. 

10.  Illustrated  Summaries  of  New  Art  Publications. 

11.  Answers  to  Correspondents  011  all  subjects  connected  with  Art. 

Full-sized  designs  with  practical  instructions  by- 


Prof.  Camille  Piton  and  others,  for  DRAWING, 


SILK,  WOOD,  and  CHINA  PAINTING,  or  ART 


NEEDLEWORK,  will  continue  to  be  given  every 


Month  in  a  Four-page  Supplement, 

The  Price  of  The  Art  Amateur  is  FOUR  DOLLARS,  a  year,  or  THIRTY- 
FIVE  CENTS  a  Single  Copv,  which  is  less  than  half  the  Price  of  any  other 
American  Art  Magazine.  The  Price  of  the  Twelve  Numbers  for  the  First 
Year  is  Six  Dollars. 

MONTAGUE  MARKS,  Editor  and  Publisher, 

No.  20  East  Four tee?ith  St.,  New  York* 


ESTABLISHED  1856. 


FREDERICK  DALLAS, 

MANUFACTURER  OF 

White  Granite  C.  C.  Goods 

 AND  

DECORATED  WARE. 

gSl^^i^^Decorating.  Glazing  and 
F .  D .        Burning  done  to  order, 

THE  FINEST  MODELING  CLAY  ALWAYS  ON  HAND. 


HAMILTON  ROAD  POTTERY, 

Head  ©£  Elaacx  Street, 

Car3S«yNo-9'}  CINCINNATI,  O 

N.  B. — Hamilton  Road  is  now  known  as  McMicken  Avenue. 

P.  L  COULTRY  &  CO. 

55,  57,  &  59  Dayton  Street,         CINCINNATI,  0. 

MANUFACTURERS  OF 

AUTISTIC  HTTEBY, 

Plaques,  Vases,  etc., 

Hebe  Pitcher. 

Of  all  sizes  and  shapes,  elegant  in  outline  and  finish,  and  suitable 
for  "Enameled  Faience"  ("Limoges")  or  "  Under-Glaze  Paint- 
ing." Charges  are  very  reasonable,  and  we  give  special  attention 
to  Firing  and  Glazing  of  our  Ware.  Satisfaction  guaranteed  or 
no  charge.    Illustrated  Catalogue  furnished  on  application. 

AT* SUPERIOR  MODELING  CLAY  FOR  SALE.-*K1 

N.  B. — Goods  called  for  and  delivered  to  any  part  of  city  free 
of  charge. 


Tt}£ 


Amebicaw  Abt  Review 


A  JOURNAL  DEVOTED  TO  THE  PRACTICE,  THEORY, 
HISTORY,  AND  ARCH/EOLOGY  OF  ART. 


ftgHIS  NEW  MONTHLY  MAGAZINE  will  embrace  the  art  of  our  own  time 
as  well  as  the  past,  and  will  give  especial  attention  to  the  history  and 
archaeology  of  art  in  America.  The  illustrations  will  consist  of  first-class 
etchings,  engravings,  wood-cuts,  etc.,  but  its  especial  feature  will  be  a  series 
of  original  Painter-Etchings  by  American  Artists.  Besides  these 
American  etchings,  each  number  will  contain  etchings  bv  celebrated  Eu- 
ropean artists,  such  as  William  Unger,  Leopold  Flaming,  P.  Rajon, 
etc.  The  "Review  "  will  be  equal  in  quality  to  the  best  European  publica- 
tions of  a  similar  nature,  and  will  i»e  the  only  truly  representative  American 
Art  Magazine.  Each  monthly  part  win  contain  three  full-page  plates  and 
forty  pages  of  letter-press;  size,  dlA  by  12J4.  Price,  $12.00  a  year,  delivered  by 
carrier  or  by  mail. 


Mr.  T.  G.  Appleton.  Boston;  Mr.  W.  S.  Baker,  Philadelphia;  Mr.  S.  G.W. 
Benjamin,  New  York;  Mr.  W.  H.  Bishop.  New  York;  Mr.  H ubert  h. 
Bancroft,  San  Francisco;  Mr.  Alessandpo  Castellan],  Rome,  Italy; 
Gen.  L.  P.  DiCesnola,  Secretarv  and  Director  of  the  Metropolitan  Museum 
of  Art,  New  York;  Mrs.  Ednah  D.  Cheney.  Boston;  Mr.  William  J. 
Clark,  Jr.,  Philadelphia;  Mrs.  C.  E.  Clement,  Boston;  Mr.  Clarence 
Cook,  New  York;  Mr.  George  Corliss,  Secretary  of  the  Pennsylvania, 
Academy  of  Fine  Arts,  Philadelphia;  Mr.  Thomas  Davidson,  Boston; 
Mr.  J.  Durand,  South  Orange,  New  Jersey  ;  Dr.  Jacob  von  Falke, 
Austrian  Museum  of  Art  and  Industry,  Vienna,  Austria;  Mr.  E.  H.  Green- 
leaf,  Curator  ot  the  Gray  Collection  of  Engravings,  Boston  ;  Mr.  Charles 
Henry  Hart,  Philadelphia;  Mr.  YY\  R.  Hodges,  St.  Louis;  Prof.  Hal- 
Sey  C.  Ives,  Director  of  St.  Louis  School  of  Fine  Arts,  Washington 
Universitv.  St.  Louis;  Mr.  John  La  Farge,  New  York  ;  Mr.  W.  Mackay 
Laffan,  New  York;  Mr.  George  McLaughlin,  Cincinnati;  Dr.  Al- 
fred C.  Lambdin,  Philadelphia;  Mr.  G.  P.  Lathrop.  Boston;  Mr.  W. 
J.  Linton,  New  Haven;  Dr.  G.  H.  Lodge,  Boston;  Mr.  Charles.  G. 
Loring,  Curator  of  the  Museum  of  Fine  Arts,  Boston;  Mr.  William 
Macleod,  Curator  of  the  Corcoran  Gallery  of  Art,  Washington;  Mr. 
Charles  H.  Moore,  Harvard  Universitv.  '  Cambridge;  Piot.  Charles 
E.  Norton.  Harvard  Universitv,  Cambridge;  Mr.  William  R.  O'Dono- 
Van,  New  York;  Mr.  Theodore  G.  Pinches,  British  Museum.  London  ; 
Maj.  J.W.  Powell.  Geographical  and  Geological  Survey  ot  the  Rocky 
Mountain  Region,  Washington;  Mrs.  Mahgaret  J.  Preston,  Lexing- 
ton, Virginia;  Prof.  F.  W.  Putnam.  Curator  of  the  Feabody  Museum  of 
American  Archa3olos?v  and  Ethnologv,  Harvard  Universitv,  Cambridge; 
Mr.  John  Sartin.  Philadelphia;  Prof.  Walter  Smith,  State  Director 
of  Art  Education,  Mussachusetts;  Dr.  J.  M.  Sommerville.  Philadelphia; 
Rev.  H.  G.  Spauldtng,  Boston;  Mrs.  Harriet  Prescott  Spofford, 
Washington;  Mr.  AY.  I.  Stillman.  Florence.  Italv;  Prof.  Russell 
Sturgis,  New  York  College,  New  York ;  Mr.  J.  R.  Tait,  Baltimore:  Mr. 
Henry  van  Brunt.  Boston  ;  Mr.  F.  P.  Vinton,  Boston  ;  Mr.  H.  Dumont 
Wagner,  Philadelphia;  Prof.  William  R.  Ware.  Massachusetts  Insti- 
tute of  Technologv.  Boston;  Mr.  H.  C.  Whipple.  Curator  of  the  Phillips 
Collection  of  Engravings.  Philadelphia;  Mr.  W.  H.  Whitmore,  Boston; 
Mr.  P.  B.  Wight,  Chicago. 


S.  R.  KOEHLER  

WM.  C.  PRIME,  LL.D.,  New  York, 
CHAS.  C.  PERKINS,  A.  M.,  Boston, 


.  Managing  Editor, 
associate  Editors. 


LIST  OF  CONTRIBUTORS, 


ESTES  &  LAURIAT,  PUBLISHERS,  BOSTON. 


SCULPTORS'  MODELING  TOOLS  OF  ALL  KINDS. 


Wadsworth  Bros.  &  Howland, 

IMPORTERS  AND  DEALERS  IN 

ARTISTS'  SUPPLIES, 

76  Washington  St.,  BOSTON. 

MQ3DELI1TG-   TOOLS    X£T  -WOOD    Q^>  Ta^I^IS. 

"VKTi-ito  for 


And  full  Descriptive  Catalogue  of  everything 
required  in  painting  Limoges,  Biscuit,  Longwy, 
Bennett  Ware,  Majolica, or  ordinary  China  Paint- 
ing, including  BRUSHES,  COLORS,  MODEL- 
ING TOOLS,  ETC. 


EMERY  H.  BARTON, 

EVERY  SHAPE  AND   KIND  OF   MODELING  TOOLS. 

A.  H.  ABBOTT  &  CO. 

IMPORTERS  OF 

Artists'  Materials, 

147  STATE  STREET,  CHICAGO. 


ROBERT  CLARKE  &  CO. 

HAVE  JUST  ISSUED  A  SECOND  EDITION  OF  THEIR  CATALOGUE  OF 

Works  on  the  Fine  Arts. 

Part  I.— GENERAL:   Art,  Painting,  Sculpture,  Ceramics;  Descriptive, 

Historical,  and  Biographical. 
Part  II.— PRACTICAL:   Drawing,  Painting,  Carving,  Engraving,  and 

Photography. 

Will  be  sent  by  mail  on  receipt  of  a  three-cent  stamp. 

A  LARGE  STOCK  OF  FINE  ART  BOOKS  always  on  hand,  and  special 
attention  given  to  the  collection  of  Rare  Works,  and  the  importation  of 
Foreign  Books.    ^JF" Letters  of  Inquiry  meet  with  prompt  attention. 

ROBERT  CLARKE  &  CO.,  Cincinnati,  O. 


ROBERT  CLARKE  &  GO.  Cincinnati. 


Publish  the  following  Art  Books: 

McLaughlin's  Pottery  Decoration. 

POTTERY  DECORATION:  Being  a  Practical  Manual  of 
Under-Glaze  Painting,  including  complete  details  of  the  author's 
method  of  Painting  Enameled  Faience.  By  Miss  M.  Louise 
McLaughlin.    Square  12mo.    Fancy  boards.  1  00 

McLaughlin's  China  Painting. 

CHINA  PAINTING.  A  Practical  Manual  for  the  use  of 
Amateurs  in  the  Decoration  of  Hard  Porcelain.  Square  12mo. 
Fancy  boards.  75 

Yago's  Modeling  in  Clay. 

MODELING  IN  CLAY,  Instructions  in  the  Art  of.    By  A.  L. 

Vago.  "With  an  Appendix  on  Modeling  in  Foliage,  etc.,  for 
Pottery  and  Architectural  Decoration.  By  Benn  Pitman,  of  the 
Cincinnati  School  of  Design.  Illustrated.  Sq.  12mo.  Cloth.   1  00 

Carl  Robert's  Charcoal  Drawing. 

CHARCOAL  DRAWING  without  a  Master  A  complete  Trea- 
tise in  Landscape  Drawing  in  Charcoal ;  with  Lessons  and  Studies 
after  Allonge.  Translated  by  Miss  Elizabeth  H.  Appleton.  Illus- 
trated.   8vo.    Cloth.  1  00 

Keller's  Perspective, 

ELEMENTARY  PERSPECTIVE  Explained  and  Applied  to 
Familiar  Objects,  for  the  use  of  Schools.  By  Miss  M.  J.  Keller,  of 
■Cincinnati  School  of  Design.    Illustrated.   12mo.    Cloth.      1  00 

Any  of  the  above  sent  by  mail,  prepaid,  cn  receipt  of  the 
price. 

ROBERT  CLARKE  &  CO., 

Cincinnati,  Ohio. 


_a_:R/T  books 

 FOR  

MODELERS  IN  CLAY 


FAU  (Dr.  J.)  The  Anatomy  of  the  External  Forms  of  Man, 
intended  for  the  use  of  Artists,  Painters,  and  Sculptors.  Edited 
with  Additions  by  Dr.  Robert  Knox.  Atlas  of  25  plates  from 
Nature,  and  4  from  Antiques.  •  4to.  Plain  plates  $9.60;  with 
the  25  plates  finely  colored  16  80 

FAU  (Dr.  J.)  Elementary  Artistic  Anatomy  of  the  Human 
Body,  for  the  use  of  Art  Schools.  Translated  and  edited  by  C. 
Carter  Blake.    Fine  illustrations.    8vo.    Paper.  2  00 

MAESHALL  (John).  A  Pule  of  Proportion  for  the  Human 
Figure.  Fine  plates  by  John  S.  Cuthbert.  Folio,  in  Port- 
folio. 3  60 

MARSHALL  (John).  Anatomy  for  Artists.  Illustrated  by  200 
Original  Drawings  by  John  S.  Cuthbert.  Eoyal  8vo.  Cloth.  12  60 

BELL  (Sir  Charles).  The  Anatomy  and  Philosophy  of  Expres- 
sion, as  connected  with  the  Fine  Arts.  Numerous  plates.  12mo. 
Cloth.  2  00 

FLAXMAN  (John).  Lectures  on  Sculpture,  delivered  before 
the  Royal  Academy.    53  pla  es.    12mo.    Cloth.  2  00 

LAYATER  (J.  C.)  Essays  on  Physiognomy.  Edited  by  Holcroft. 
With  400  Profiles.  8vo.    Cloth.  4  80 


ROBERT  CLARKE  &  CO'S  Catalogue  of  Works  on  the 
Fine  Arts  will  be  sent  by  mail  on  application. 

ROBERT  CLARKE  &  CO. 

Publishers,  Booksellers,  and  Importers, 

CINCINNATI,  Oo 


GETTY  RESEARCH  INSTITUTE 


3  3125  01360  2137 


